« 2018. #5 (143)

The Ethnology Notebooks, 2018, № 5 (143), 1320—1325

UDK 792.051:662.11

DOI https://doi.org/10.15407/nz2018.05.1320

Received  15.08.2018


ORCID ID: https://orcid.org/0000-0003-2665-390X

Yudova-Romanova Kateryna, Candidate of Art Studies, Ph.D, research fellow

in the Department Associate Professor,  the department of theatrics KNUKiM

Ye. Konovaltsia Street 36, 01601, Kyiv, Ukraine.

Contacts: e-mail: iudovakateryna@gmail.com; tel. 050-381-22-92, 044-528-34-97

Abstrakt. The interdependence of the contents and forms in the art of visual design of the stage space by fire and pyrotechnics has been analyzed; locations for public events using pyrotechnics were described. Ritual fire is recognized to be an integral part of the proto­design of religious structures of ancient Slavs. In Kupala rites, fire was used both as a game requisite and as a designing tool for a public space in which a ritual act was taking place. The flame of the Kupala bonfire can be interpreted as a static object­fire design tool for public space; candles in the Kupala tree, in wreaths­baskets on the water, fire wheels — as moving floral and fiery design tools. Modern pyrotechnic sights contribute to the popularization of public space. Its architectural­spatial characteristics influence the choice of directors about design option of stage­viewers’ space and the filling of the pyrotechnic scenario with the relevant elements.

Keywords: fiery effects, pyrotechnics, public space, pyrotechnic art.


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